Gangs of London is still spectacularly brutal – but the new season fails in one key way

The TV series “Gangs of London” returns with even more brutal intensity, complete with cracked bones echoing in the background. Just as we’ve come to understand, what makes this highly stylized, bloodthirsty portrayal of London feel authentic is the common sight of a well-fed fox prowling the city streets.

Nevertheless, “Gangs of London” is not sought out for its authenticity. Interestingly, the series’ latest head director, action movie maestro Kim Hong Sun, appears to be well aware of this fact.

Under the leadership of Hong Sun, who succeeded previous director Corn Hardy, the creative reins were taken and the storyline was advanced by exploring the limits of graphic violence in a manner that seamlessly integrates with the overall plot progression without causing disruptions or detractions.

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A narrative that was well and truly packed this season, we might add.

Season three begins approximately several months following the power shift in season two, where Elliott Carter, who was once a policeman but now leads a life as a gangster, has taken over as London’s most influential drug kingpin from Sean Wallace, due to his recent alliance with the Dumanis.

Life at the summit grows riskier this season, given the circumstances. As the newly elected Mayor of London, Simone Thearle (T’Nia Miller) aims to weaken the London gangs, a matter Elliott finds troubling. However, this is just the beginning of his worries when his cocaine supply gets adulterated.

The flawed drug incident triggers a conflict among criminal groups as they scramble to determine who is accountable, with numerous individuals finding themselves under scrutiny.

Not only does Elliott have a lot on his plate already, but fresh insights into an old incident from his past emerge, prompting even more queries concerning a deeply distressing event within his family. In his quest for clarity, he finds himself needing to consult with Sean.

We last saw Sean as he was strung up by Elliott’s hands, awaiting capture from the police.

Sean typically isn’t one to linger in prison for extended periods, and so Cole gets a chance to display his remarkable talent for crafting scenes that are both gruesomely intense and yet manage to evoke empathy from the audience.

In the end, Sean and his mom Marian (played by Michelle Fairley) finally meet up again, and their emotional reunion is much sweeter and poignant than anyone might anticipate, considering their disagreement in season two.

Additionally, it isn’t just these Wallaces who have influence in the current game. With Sean behind bars, Billy assumes a more significant role, leading him on a path that reveals fresh dimensions and insights – albeit with the typical dose of violence.

Once more, the significant character, Luan (Orli Shuka), is engaged in a struggle, driven primarily by his deep affection for his family. In the third season, Shuka’s role demands a slightly somber and complex portrayal, as Luan acts from love, yet this time devoid of any soulful essence.

In the third season, there were larger leaps taken, pushing the characters into more profound and exposed situations, thus revealing their humanity in a rawer and truer sense.

In this season, Gangster Lale (Narges Rashidi) stood out with her raw emotions, resilience, and compassion. One of the most brutal and animalistic deaths in the show was orchestrated by her, which was significant because it wasn’t driven by a desire for prestige or power, but something deeper. It represented a desperate, intense display of love from Sean’s former partner. The outcome was satisfying due to this selfless act.

Although the series excels at providing deeper character analysis and successfully executing some of its numerous plot twists, season three became overloaded with too many concepts all at once.

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While the show does a great job of exploring its characters’ depth and delivering on some of its multiple surprises, season three was overwhelmed by an abundance of ideas, making it less effective.

The narrative sometimes became confusing due to the numerous elements it attempted to incorporate. Regrettably, it didn’t effectively manage these elements to create a cohesive and fulfilling conclusion.

The assessment also applies to the freshly introduced characters. While Miller seemed well-rounded enough for her storyline, Richard Dormer’s character, Cornelius Quinn, and Andrew Koji’s character, Zeek, appeared somewhat one-dimensional in comparison.

As they expanded the cast and injected a touch of dark comedy, Cornelius seemed somewhat out of place, while Zeek’s brooding presence required more depth given his story arc. On the other hand, Koji’s action scenes were captivating, leaving viewers yearning for additional sequences.

By the end of the season, there’s a peculiar sense of finality, like this isn’t just the conclusion of the current season, but perhaps the end of something more significant.

The ambiance suggests that the storyline of Gangs has bestowed a fictitious London with an ending that’s both melodramatically beautiful and utterly grim. It seems there’s no other direction to progress, but there remains an immense amount of depth left to delve into.

Beginning March 20, all eight episodes of Gangs of London’s third season will debut simultaneously on both Sky Atlantic and the streaming platform NOW, available for viewing as a complete box set.

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2025-03-20 10:20